Quotes About Camera

Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."

Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.

The camera follows a young woman as she makes her way through the stands to an area set aside for repentance and conversion. But Jesus' stories imply that far more may be going on out there: beyond that stadium scene, in a place concealed from all camera lenses, a great party has erupted, a gigantic celebration in the unseen world.

I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.

The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.

If you need to strap a camera to you or get in a small space, then it makes sense to use digital.I do think it is possible to use a digital camera artistically, but it can only be good if you are using film technique. Film has grain, and digital has pixels, and there is not that much of a difference, but digital does not replace the need to create a scene and light it properly and spend time considering the shot.

I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.

Elizabeth Taylor is, in my opinion, the greatest actress in film history. She instinctively understands the camera and its nonverbal intimacies. Opening her violet eyes, she takes us into the liquid realm of emotion, which she inhabits by Pisces intuition. Richard Burton said that Taylor showed him how to act for the camera. Economy and understatement are essential. At her best, Elizabeth Taylor simply is. An electric, erotic charge vibrates the space between her face and the lens. It is an extra-sensory, pagan phenomenon.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.

Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.

With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.

There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.

When I was an actor in some movies a long time ago, I was so curious about all the camera movements - why is the camera placed here, and why does it move like this? And why the set and the background, the color? It's a lot of questions for me to ask, because I was so interested, not only in acting, but also the whole process of filmmaking.

My McQueen particularly was hard to make, because my father was dying. I see it, and I see my confusion, my pain, my everything. I thought that it was really interesting to be able to put the people from behind the camera in front of the camera as they make it.

Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

I know of few actresses who have this incredible talent for communicating with a camera lens. She would try to seduce a camera as if it were a human being.

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

There's a subtleness to camera work. You can really create intimate moments on camera and sometimes that requires a little more precision from an actor, because you have to pull people in as opposed to throwing it to them.

Ever since the invention of the camera, people have been trying to create 3D, because we see things in 3D, and everyone's aware that the camera doesn't.

Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.

Sometimes the presence of a camera is like opening a door.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

Although I was entirely relaxed on camera, if I had to stand up and say something to an assembled group of people, I was rendered all but inarticulate.

I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.

The truth is I've always been a Christian. What's amazing, is that the flaws that come with Christianity are really weird, because mine have a microphone and a camera attached to them. Most people don't have to live under that microscope.

It's like he would take a photograph of Sam, and the photograph would be beautiful. And he would think that the reason the photograph was beautiful was because of how he took it. If I took it, I would know that the only reason it's beautiful is because of Sam. I just think it's bad when a boy looks at a girl and thinks that the way he sees the girl is better then the girl actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera. It's very hard for me to see Sam feel better about herself just because a boy sees her that way.

Off-camera, I sound like Perry Como.

I never go to a gym unless I have to for a role, a contract. I try to take care of myself as a human being, not because I have to be in front of the camera.

I like the smell of film. I just like knowing there's film going through the camera.

I trained like an animal, but the thing is focus and concentration. When the bell rings it's like when the little red light goes on over the camera. And I can usually nail my lines on the first or second take because I'm right there.

The most important piece of equipment after the camera is a good pair of shoes.

I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.

I don't want to disrespect hip-hop by being something I'm not. I'm Pooch Hall. My strength is in front the camera and holding dialogue.

If life were a camera, I'd have the lens cap on.

Good acting is thinking in front of the camera. I just do that and apply a sense of humor to it. You have to trust the audience to get it.

I spent a lot of years just learning my craft and falling down in front of the camera.

It is important to understand what are you trying to capture with a camera. What you want to use this tool for. It helps to begin to search for and concentrate on thematic photography.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

It's so hard, because everyone's got a camera-phone, and everyone wants to get their picture on the blogs. So they'll send anything that they have to the blogs. So you don't really get any privacy.

Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.

People ask me to smile for the camera, but somehow it always comes out gloomy.

I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.

Our job as actors, especially in front of a camera, is almost like textile artists. We spend so much time getting the right texture of yarn, and working out the color scheme, and binding off the weave, and making it just right.

I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.

I don't pretend to make my photographs speak the truth of what Mexico is all about. But in its villages I can feel the way culture is changing, and it's fascinating to live through it and try to capture it on camera.